As a prelude to this year’s edition, Luxembourg Art Week offers visitors a citywide parcours highlighting a remarkable selection of international sculptors. It is an invitation to wander through the historic streets of the capital and discover recent works displayed across twelve emblematic locations.
By Loïc Millot
A standout figure in this artistic promenade, the iconoclastic Stefan Strumbel presents Fuchs (2024) and The Owl (2025), forming a curious menagerie near Rond-Point Robert Schuman, just a few steps from the fairgrounds. A limping fox and a philosophical owl perched on a pinecone-shaped weight allude to the famous cuckoo clocks crafted in Germany’s Black Forest—Strumbel’s native region—since the 17th century. Cast in bronze and deliberately oxidized to a green patina, these two animal sculptures humorously reinterpret domestic objects that embody the spirit of Heimat, that untranslatable notion blending origin, belonging, and nostalgia for home.
Further along, Boulevard Royal hosts the elegant monoliths of Éric Schumacher, winner of the 2019 Robert Schuman Art Prize and represented by Nosbaum Reding Gallery (B05). His concrete blocks, titled Thank You-Monoliths (2021), are coated with polite expressions as a social veneer, creating tension between tonal and temporal scales. Nearby lies Entangled (2021), by the celebrated duo Martine Feipel and Jean Bechameil (Zidoun & Bossuyt Gallery - B07), a work that pays tribute to humanity’s earthly condition and the legacy of classical statuary. Completing this ensemble is Wink To Go (2025) by Anni Mertens, a young ceramic virtuoso represented by Valerius Gallery (B19) —a post-Dada assemblage of found objects, pop colours, and perplexing folds of texture.
Four sculptures are installed around Adolphe Bridge, from Place de Metz to Rousegäertchen (Place des Martyrs). First among them, Caddy Type Mk. IX “cactus” – “en route pour la belle étoile” (2025) by Serge Ecker turns a consumerist fetish into a critique by dismantling its original structure and expanding its steel frame into a constellation-like form. In contrast, Julien Hübsch rejects verticality with Loops (2025), a circular construction made from stacked industrial gutters (LAGE EGAL Curatorial Projects - D24). Completing this group are Solid Ego 005 (2025) by Chidy Wayne (Grège Gallery - D15) and Vitae (Mémorées series) (2024) by Jean-Pierre Formica (Galerie Regala)—a totemic figure steeped in Mediterranean memory.
In Dräi Eechelen Park, Alice Channer’s Megaflora (2021)—a giant bramble stripped of one thorn—offers a poetic ode to life and vulnerability (Konrad Fischer Galerie). Finally, the historic Marché-aux-Poissons square hosts Gary Schlingheider’s Iconic Pillar (2025), five minimalist columns inspired by the abstract paintings of Ellsworth Kelly (galerie burster - B10). A rare work, not to be missed.
